Aboutype (est. 1991) is Joffre LeFevre's small Boston-based foundry and custom font bureau. LeFevre (b. 1945, Muskegon, WI) has been making typefaces since about 1970. Joffre LeFevre's 1997 Volkswagen font series is floating around in web space however. As he says, The Volkswagen fonts were hand-drawn by me to a specification based on a long neglected display version of Futura that was developed by a photo composition type foundry in the early seventies. Similar to the type used in the introduction of the first VW Beetle.

Designer of the Arabic simulation (or "faux Arabic") font Imperialist (2003), a protest against the American approach in the Middle East. Adam C. King is based at UW-Stout in Menomonie, WI. [Google]
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Sgaon or Sonar Gaon is a Bangla font designed by Anisur Rahman from Milwaukee, WI, in the early 1990s. From the designer: "The Bangla font sgaon is a HP Laserjet softfont. In this implementation, the softfonts are converted to PostScript and the groff fonts are also generated from the Adobe Font Metrics, encoding, and map files." [Google]
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Graphic designer in Dallas, TX, who graduated in 2012 from the University of Wisconsin (B.Arts) in Madison, WI. Creator of the free display typefaces Diminuendo, Wedged, and Crossed Wires Condensed in 2012.

Bill Moran at Blinc Publishing (est. 1996, St. Paul, MN) is the creator with Darrel Austin at Chank of Goshen, Gommorah, and Prospect. He also created Gideon (2001, 999USD!!!!!), Bell Martellus (2006, a Carolingian script family commissioned by the James Ford Bell Library at the University of Minnesota; codesigned with Chank Diesel), and Sodom (1999, with Chank). Hamilton Offset (2002, Chank) was based on an alphabet from the Hamilton Wood Type Printing Museum. He also made Flour Sack (2006).

He writes: As a youngster in Green Bay, Bill began his career as an apprentice in his father's print shop [Jim Moran]. He honed his graphic design skills at the University Of Wisconsin-Stout and proceeded to work for Norwest Banks, The Artist known as Prince, and 3M before starting his own business. Bill serves as the Artistic Director for the Hamilton Woodtype and Printing Museum.

Chank link. Blinc specializes in turn-of-the-century wood and lead type.

Boris Pelcer is a Bosnian-born artist and designer based in Milwaukee, WI. He has a BFA from the Milwaukee Institute of Art & Design, and an MFA from the University of Idaho's College of Art and Architecture, Moscow, ID. In 2013, he created a gothic calligraphic typeface called Allure (Ten Dollar Fonts).

Designer of the Trondheim runes font, which can be downloaded here. Harold Sauer, an MD at Michigan State University writes: Bradley Poulson, M.D. was a dear friend and medical classmate of mine. He was also an avid Macintosh user, buying his first Mac on the first day the computer was available in January of 1984. He was an internist in Manitowoc/Two Rivers, Wisconsin, U.S.A. who also liked to design fonts, like Trondheim. Bradley (1953-1990) met an untimely end in a car accident in his adopted Wisconsin on a snowy and icy day in December of 1990. [Google]
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Kraimer worked at Ascender Corporation since 2004 until it was sold to Monotype. He has worked at the Chicago Tribune, and at Monotype Typography and Agfa Monotype, where until 2004, he was Vice President, responsible for managing the Worldwide Font Development Team. Today, he works at the Accounts Office of Monotype from Elk Grove Village, IL. [Google]
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Born in Canby, MN, Chad Lindemann graduated from Augustana College and Kansas State University. At Kansas State University, he taught figure drawing. At Mid-Plains Community College in North Platte, Nebraska, he taught art. Today, he is Associate Professor of Art at Wisconsin Lutheran College (in Milwaukee, WI) teaching primarily printmaking and media design.

Milwaukee-based graphic artist, who designed Indy Italic (1990, Letraset), an informal script, and Century Nova (American Typefounders, 1966), the latter as a variation on Century Expanded. MyFonts says that he was a Chicago-based letterer and that he worked for ATF in 1948. The discrepancy is possibly due to the fact that there is a Charles E. Hughes and a different Charles Huughes.

Charles Gibbons (b. 1967, Lynn, MA) received an MFA in graphic design from the Rhode Island School of Design. Gibbons spent much of the nineties as a designer for the University of Minnesota in Minneapolis and later as assistant professor of Graphic Design at the University of Wisconsin / Stout where he taught typography and publication design. In 2001, he joined the Library of Congress as the chief designer for the United States Copyright Office. In 2015, he set up Oddsorts.

Designer in 2000 of Aphasia at Bitstream. He co-designed Full Moon Suite with Mary Trafton at Bitstream in 2001. These include FM Black Cherry Moon, Alternate, Ligature, and Doubles. This family won an award at the TDC2 2003 competition.

In 2011, he helped out Stuart Sandler in his Filmotype project, and created the identical lively freestyle typefaces FilmotypeNemo (original from 1953), Filmotype Niro, and Filmotype Nero (2011), all three the same typeface but renamed under various scenarios of pressure. In 2011, he also made the signage typeface Filmotype Atlas.

Typefaces from 2014: Local Market (with Cindy Kinash: hand-drawn collection of typefaces), Filmotype Western (an italian, or reversed stress, typeface based on a Filmotype design from 1955), True North (+Extras, +Textures: a vintage letterpress emulation set of fonts designed for posters and banners), Ciao Bella (with Cindy Kinash at Cultivated Mind: a hand-drawn copperplate script emulation with four lovely hand-drawn sets of floral ornaments).

Madison, WI-based designer of the multilined typeface Stitch Regular (2015), which was completed for a school project at UW Madison. She also created the modular typeface Vagus (2015). [Google]
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Wisconsin-based designer (b. 1987) of Love You Long Time, BLINGladash, Clare's-Special-Sauce, Could-Be-Infected, Got-Ballz, Retro-Stylee, Scrapbooking-Special, Sooper-Cool and stellar-handwriting, all handwriting fonts made in 2007. She also made the western look font WANTED-Dead-Or-Alive! (2007) and the script font Love You Long Time (2007). [Google]
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Inventor of the optical reader, b. Milwaukee, 1923, d. San Diego, 2007. Shepard majored in electrical engineering at Cornell and earned a masters degree in mathematics from the University of Michigan. Obituary in the New York Times, from which I quote: Mr. Shepard sketched out the familiar boxy numbers on credit cards, called the Farrington B numeric font, on a cocktail napkin at the Waldorf-Astoria Hotel, his wife said. The shapes were meant to be as simple and open as possible because gasoline station pump islands were among the earliest places optical character recognition was used; the shapes were meant to minimize the effects of smearing with grease, oil and other substances. The font with a 7 that looks like two sides of a rectangle has persisted even as the numbers have faded from use: the magnetic strip on the cards back now carries the necessary information. [Google]
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Born in Lake Mills, Wisconsin, 1888, he died in Chicago in 1947, worked as designer, instructor and calligrapher. Designer of Nicolas Jenson (or Eusebius) (1923), who worked at the Ludlow Typograph Company in Chicago. Note that the name Eusebius was only coined in 1941. Nicolas Jenson was based on the original work of fifteenth century designer Nicolas Jenson.

Jim Spiece's Nicolas Jenson SG is based on Eusebius and on extensions of Eusebius by Detterer's student, Robert Hunter Middleton.

McGrew writes about Eusebius: Eusebius is Ludlow's distinctive adaptation of the types of Nicolas Jenson, which were first used about 1470 and have served as inspiration for many of the best roman typefaces ever since. This typeface was designed by Ernst Detterer in 1923, and issued as the Nicolas Jenson series. Robert H. Middleton, who had been an art school student of Detterer's, was first hired by Ludlow for the temporary assignment of seeing this typeface through production. By 1929 he had designed matching bold, italics, and open. Slight modifications were later made to the Nicolas Jenson series by Middleton (who remained at Ludlow for a distinguished career, designing scores of typefaces over forty-seven years), and it was reintroduced in 1941 under the series name of Eusebius. This name comes from the 1470 book in which Jenson's original type was first used. In the specimen of Eusebius, the J and f shown separately at the end are the original Detterer design of the letters most obviously redesigned; other changes were minor. In addition to the characters shown in the specimens here, with the usual ligatures for all fonts, oldstyle figures were available for Eusebius and Italic and Open, while QU and Qu combinations with long tails and f combinations with overhangs were made for regular, Bold, and Open. Compare Centaur, Cloister, Italian Old Style.

In 2006, Font Diner acquired the Filmotype collection and its trademark, Filmotype. Sandler writes: Filmotype initially manufactured a simple manual phototype machine utilizing display typeface designs on 2-inch filmstrips. Additional films were sold to start-up typesetting companies in order to increase their product selection. Font Diner will create new digital versions of the Filmotype collection, recreating it to meet todays graphic design standards. [...] We intend to release the Filmotype library in OpenType format so the original designs can be fully realized with a dynamic feature set including alternate glyph forms and automatic substitutive ligatures.

In 2012, David Cohen and Stuart Sandler published these typefaces at Neapolitan: Irish Grover Pro (2010, a bouncy face), Satisfy Pro (2011, a connected retro script face), and Slackey Pro (2010, a paper cut out style face). At the same place, he also published Crafty Girls Pro (2010, codesigned with Crystal Kluge). With Crystal Kluge, he also codesigned the flowing connected script typeface Aya Script (2012).

At Sideshow, he published the pen-drawn connected script Mister Brown (2013) and the retro signage script typeface Cocktail Sauce (2014).

American architect, artist and designer, b. Richland Center, WI, 1867, d. Phoenix, AZ, 1959. He was associated with the Arts and Crafts movement. His lettering inspired many to create typefaces based on them. The Frank Lloyd Wright museum is near the University of Chicago. He lived in Oak Park, IL, two blocks away from Luc Devroye's daughter. A partial list of fonts realted to FLW:

Christina Torre (P22) created P22 FLLW Exhibition and P22 FLLW Terracotta in 2000, based on alphabets by Frank Lloyd Wright published in 1931 and in 1896-1897 (in his book The House Beautiful), respectively.

Paul Hunt made the P22 FLWW Midway font family in 2006, comprising Midway One, Two and Ornaments. This set is based on the lettering found on the Midway Gardens working drawings of Frank Lloyd Wright---tall-legged and casual.

There are several free fonts. For example, swiftw5 created the typeface Hendrikus Wijdeveld (2010), based on a Hendrikus Wijdeveld poster entitled Architecture Exhibition / Frank Lloyd Wright from 1931.

Gene Gable on the history of typewriters. I cite: Typewriter patents date back to 1713 or older, according to many sources, but nearly everyone ascribes the invention of the modern typewriter to Americans Christopher Sholes, Carlos Glidden, and Samuel Soule, in 1873. The three Milwaukee businessmen soon sold their patents to the Remington arms company, who went on to popularize the typewriter. [Google]
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During her graphic design studies in Madison, WI, Grace meurer created the monoline display typeface family Purl (2015), which has one textured style with a knitted look. Behance link. [Google]
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As part of the (ex-) Chank Army, Jason Ramirez (b. 1978, Wisconsin) offers free and commercial fonts. He started out as Pennyzine or Penny Fonts, or Penny Font Foundry, with free fonts that were typically made with the Data Becker software program. Later, his fonts became commercial, and the new site changed its name to Ground Control.

Founded by Edward J. Hamilton as the J. E. Hamilton Hollywood Type Company after the introduction in 1880 of Hollywood type. Located in Two Rivers, Wisconsin, this company was the successor firm to the William H. Page Wood Type Company, Morgans and Wilcox, and Vanderburgh, Wells&Company, and thus possessed most wood type in the USA in 1906. In 1906, they published a specimen book of all the wood-type designs in their possession, and, incredibly, destroyed all the original paper designs and patterns for the individual letters. This brought a heavy blow to the wood type industry. The lithograph dealt it another blow, and wood type became obsolete soon afterwards. Samples of their specimen books are starting to appear on the web. See here and here for samples of pointing hands from the 1901 catalog, and here for fists from their 1900 catalog. About their start: Just after 1880, Max Katz finances the business, and it becomes Hamilton&Katz for a few years. Katz sells out to William Baker, and the name of the firm becomes The Hamilton Co., or Hamilton&Baker. A bit later, Hamilton buys out Baker, to form the Hamilton Manufacturing Company. And then the takeovers start in earnest: in 1891, they buy the William H. Page Wood Type Company, then in 1898 Heber Wells, in 1899 Morgans and Wilcox Mfg Co., and in 1918 Tubbs Mfg Co. Amazingly, the company lasted until 1985, and enjoyed the lion share of the wood type business in the 20th century.

Hamilton Wood Type (HWT), established in 2012, is a joint venture between P22 type foundry and the Hamilton Wood Type & Printing Museum. The designs in this collection are based on printed specimens and actual wood type from the historic Hamilton Museum in Two Rivers, WI. HWT is based at P22 headquarters in Buffalo, NY. Typefaces are contributed by its founder, Richard Kegler, but also by Miranda Roth and Terry Wüdenbachs.

In 2012, they published HWT American Chromatic (Richard Kegler, Terry Wüdenbachs), a multilayered Western or circus font based on 19th Century Chromatic.

HWT Antique Tuscan No. 9 (2012) is a very condensed 19th century Tuscan style wood type design with a full character set and ligatures. This font was first shown by Wm H Page Co in 1859. It is the first digital version of this font to include a lowercase and extended European character set.

HWT Borders One (2012) contains 80 modular decorative elements that are based on the designs offered by the Hamilton Manufacturing company at the end of the 19th Century.

In 2013, Richard Kegler released the refreshing retro typeface HWT Bon Air, which is one of a series of script typefaces cut into wood by the Hamilton Manufacturing Company for the Morgan Sign Machine Co. (makers of the Line-o-Scribe showcard press) ca. 1950). He also digitized HWT Star Ornaments and HWT Republic Gothic (with Miranda Roth).

In 2013, James Todd designed the wood type revival family HWT Unit Gothic for Hamilton Wood Type Foundry. The Unit Gothic series was released by Hamilton Manufacturing Co. in 1907, and comprises a flexible range of widths from compressed to very wide.

Still in 2013, William Page's Antique No. 4 is revived as HWT Slab (Antique, Columbian), one with unbracketed square serifs, and one with bracketed serifs as in Clarendons. [Google]
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Tom Wallace's foundry, HiH (est. 2005), was first located in Woodbridge, CT. Subsequently, Tom Wallace (b. 1944) moved from Woodbridge to Naugatuck to Waterbury and finally in 2009 to New Britain, CT. His type designs are based on historical letterforms:

Figgins Tuscan (2005) is based on the first metal Tuscan typeface by Figgins in 1817.

Freak, based on Bamboo (1889, The Great Western Type Foundry). HiH explains: Great Western became Barnhart Brothers & Spindler in 1868. At some point, prior to 1925, Freak was renamed Bamboo by BB&S. It was delisted when BB&S was absorbed by ATF in 1929. Compare with Dan Solo's Bamboo (2004).

Gradl Initialen (2005): based on caps designed by Max Joseph Gradl ca. 1900 for engraving on his art nouveau jewelry in Germany. Samples are in Petzendorfer.

Künstler Grotesk (2005): a simple blackletter caps typeface based on a design seen in Petzendorfer's book.

Page No. 508 (2006): Page No. 508 was designed by William H. Page in 1887 as one of a series of designs for die-cut wood types for the firm of Page & Setchell of Norwich, CT. Page & Setchell was the successor to The William H. Page Wood Type Company and was sold to the Hamilton Manufacturing Company of Two Rivers, Wisconsin in 1891.

Pekin (2005): first designed by Ernst Lauschke in 1888 at the Great Western Foundry under the name Dormer.

Schnorr Dekorativ, Demi Bold and Initialen (2007), all due to Peter Schnorr (ca. 1900), as well as Schnorr Gestreckt (2006), an art nouveau typeface from 1898.

Rundgotisch (2005): based on a design by Schelter and Giesecke, ca. 1900.

Edison (2005) is based on Edison Swirl SG, a Spiece Graphics digitization of a late 18-th century design of the Bauersche Giesserei.

Bethlehem Star (2005) is based on the typeface Accent with the permission of URW++: HiH only added stars to the glyphs.

Secession (2006): a sans family with art nouveau twists.

French Plug (2007): A sign painters font based upon work of Frank H. Atkinson, a popular Art Nouveau sign painter in Chicago, who worked for Cadillac, and published Sign Painting in 1908.

Mulier Moderne (2007): Based on a font designed ca. 1894 by E. Mulier, a French art nouveau era artist.

Regina Cursiv (2007): an art nouveau design.

Edelgotisch (2007): a bold Jugendstil design (with caps), based on a design released by Schelter & Giesecke of Leipzig, Germany about 1898 and is very similar to Eckmann-Schrift released by Rudhard'schen Giesserei (later Klingspor) during the same period.

Teutonia (2007), a revival of Teutonia by Roos & Junge, a squarish art nouveau face. HiH writes: There are many quite similar attempts in the field of topography. In 1883, Baltimore Type Foundry released its Geometric series. In 1910, Geza Farago in Budapest used a similar letter design on a Tungsram light bulb poster. In 1919 Theo van Doesburg, a founder with Mondrian and others of the De Stijl movement, designed an alphabet using rectangles only -- no diagonals. In 1923, Joost Schmidt at Bauhaus in Weimar took the same approach for a Constructivist exhibit poster. The 1996 Agfatype Collection catalog lists a Geometric in light, bold and italic that is very close to the old Baltimore version. And in 2008, HiH itself published Baltimore Geometric.

Austin Antique, based on Richard Austin's 1827 antique typeface.

Morris Gothic, Morris Ornaments and Morris Initials One and Two (2007): The gothic that Morris designed was first used by his Kelmscott Press for the publication of the Historyes Of Troye in 1892. It was called Troy Type and was cut at 18 points by Edward Prince. It was also used for The Tale of Beowulf. The typeface was re-cut in at 12 points and called Chaucer Type for use in The Order of Chivalry and The Works of Geoffrey Chaucer. Morris' objective is designing his gothic was to preserve the color and presence of his sources, but to create letters that were more readable to the English eye. ATF copied Troy and called it Satanick. Not only was the ATF version popular in the United States; but, interestingly, sold very well in Germany. There was great interest in that country in finding a middle ground between blackletter and roman styles -- one that was comfortable for a wider readership. The Morris design was considered one of the more successful solutions.

Larisch (2007): a hand-lettered design by the Austrian calligrapher and teacher, Rudolf von Larisch. The original was used for the title page of the 1903 edition of Beispiele Kunstlerischer Schrift Examples of Artistic Writing).

Patent Reclame (2007): an art nouveau typeface first cast around 1895 by Schriftgeisserei Flinsch, and then by Stephenson Blake, ca. 1896.

Wedding (2007): a multi-style English blackletter family, based on a Morris Fuller Benton original called Wedding Text.

Brass (2007): two blackletter typefaces from the early 1500s described by Alexander Nesbitt in his Decorative Alphabets And Initials (Mineola, NY, 1959) as initials and stop ornaments from brasses in Westminster Abbey.

Auchentaller (2007), a monoline art nouveau typeface inspired by a travel poster by Josef Maria Auchentaller (b. Vienna, 1865, d. Grado, 1949; studied at the Vienna Academy, professor in Munich, member of the secession from 1898, artist) in 1906.

Phinney Jenson (2007): a Venetian by Nicolas Jenson from the 15th century, about which Wallace writes: In 1890 a leader of the Arts & Crafts movement in England named William Morris founded Kelmscott Press. He was an admirer of Jensons Roman and drew his own somewhat darker version called Golden, which he used for the hand-printing of limited editions on homemade paper, initiating the revival of fine printing in England. Morris' efforts came to the attention of Joseph Warren Phinney, manager of the Dickinson Type Foundry of Boston. Phinney requested permission to issue a commercial version, but Morris was philosophically opposed and flatly refused. So Phinney designed a commercial variation of Golden type and released it in 1893 as Jenson Oldstyle. Phinney Jenson is our version of Phinneys version of Morris' version of Nicolas Jensons Roman.

Advertisers Gothic (2008): based on Robert Wiebking's tasteless 1917 design for Western Typefoundry. HiH writes: Advertisers Gothic is bold and brash, like the city it comes from, Chicago. It was designed by the accomplished German-American matrix engraver, Robert Wiebking, for the Western Type Foundry in 1917. As its name suggests, it was designed for commercial headliner work, much as Publicity Gothic by Sidney Gaunt for BB&S the year before. See our Publicity Headline.

Publicity Headline (2006): an allcaps version of Sidney Gaunt's advertising typeface, Publicity Gothic (1916, Barnhart Brothers & Spindler). Its heavy weight and robust strength allows it to be used against complex backgrounds or reversed out on dark backgrounds without getting lost.

Besley Clarendon (2008) is the HiH version of the Clarendon registered by Robert Besley and the Fann Street Foundry in 1845. This condensed typeface was very popular in the 19th century, and was copied by most foundries of that era. It was followed by Gutta Percha (2008), a Clarendon in which the upper case letters are dropcaps.

Waltari (2008): a revival of Walthari (1899, Heinz König for the Rudhardsche Giesserei), a Jugendstil type.

HiH stumbled on a 1902 publication by Bruno Seuchter called Die Fäche, in which he found the art nouveau typeface that HiH revived in 2008 as Seuchter Experimental.

Petrarka ML (2006). HiH writes: Petrarka may be described as a Condensed, Sans-Serif, Semi-Fatface Roman. Huh? Bear with me on this. The Fatface is a name given to the popular nineteenth-century romans that where characterized by an extremity of contrast between the thick and thin stroke. The earliest example that is generally familiar is Thorowgood, believed to have been designed by Robert Thorne and released by Thorowgood Foundry in 1820 as "Five-line Pica No. 5." Copied by many foundries, it became one of the more popular advertising types of the day. Later, in the period from about 1890 to 1950, you find a number of typeface designs with the thin stroke beefed up a bit, not quite so extreme. What you might call Semi-Fatfaced Romans begin to replace the extreme Fatfaces. Serifed designs like Bauer's Bernard Roman Extra Bold and ATF's Bold Antique appear. In addition, we see the development of semi-fatface lineals or Sans-Serif Semi-Fatfaces. Examples include Britannic (1906, Stephenson Blake), Chambord Bold (Olive), Koloss (Ludwig & Mayer), Matthews (ATF) and Radiant Heavy (Ludlow). Petrarka has much in common with this latter group, but is distinguished by two salient features: it is condensed and it shows a strong blackletter influence, as seen in the H particularly.

Haunted House (2008), Halloween-themed fonts.

Gothic Tuscan One (2008) is an all-caps condensed gothic with round terminals and decorative Tuscan center spurs. It was first shown by William H. Page of Norwich, CT, among his wood type specimen pages of 1859.

HiH Firmin Didot (2008) is a one-style didone based on an 1801 version of Didot. It led to a combined alphabet/stick people alphading called Gens de Baton (2008) after a lower case alphabet that appeared in the Almanach des Enfants pour 1886 (Paris, 1886) under the title Amusing Grammar Lessons.

Shout (2008), a Compacta-like fat headline sans about which HiH writes: Its lineage includes the Haas Type Foundrys 19th century advertising font, Kompakte Grotesk, which Jan Tschichold (1902-1974) dryly described as extended sans serif and which graphic designer Roland Holst (1868-1938) would have disapprovingly referred to as a shout, as opposed to the quiet presentation of information that he believed was the proper function of advertising. In 1963 Letraset released what appears to be an updated variation in multiple weights designed by Frederick Lambert called Compacta. Shout draws heavily on Compacta, as well as other similar fonts of the 50s and 60s like Eurostile Bold Condensed and Permanent Headline. In weight, it falls about halfway between Compacta Bold and Compacta Black.

The heavy art deco typefaces Guthschmidt and Guthschmidt Condensed (2008) are based on a 1924 KLM Royal Dutch Airline poster designed by Anthonius Guthschmidt. The poster draws on the imagery of the legend The Flying Dutchman.

Cherub and Cherub Caps (2008) are based on Phinney Jenson. Not to be confused with the many fonts that already existed with that name, such as Cherub from House of Lime, Twopeas, Graph Edge Fonts, and Fuelfonts.

HiH Large (2009) is a poster sans.

Mira (2009) is an art nouveau / Victorian typeface patterned after a font by the Roos & Junge Foundry in Offenbach, ca. 1902.

Thorowgood Sans (2009): A three-dimensional all-cap font for title use, Thorowgood Sans Shaded was released by the Fann Street Foundry of W. Thorowgood & Co. in 1839. Interestingly, it more closely resembles Figgins' Four-Line Emerald Sans-Serif Shaded of 1833 than Fann Street's own Grotesque Shaded of 1834 (with light and shadow reversed).

Fantastic ML (2009): an art nouveau typeface originally released as "Modern Style" by Fonderie G. Peignot & Fils, Paris, France some time before 1903.

Gundrada ML (2010): a medieval style typeface inspired by the lettering on the tomb of Gundrada de Warenne, who was buried at Southover Church at Lewes, Sussex, in the south of England in 1085.

Wedge Gothic (2010). HiH writes: Wedge Gothic ML is the original name of this font released by Barnhart Bros. and Spindler of Chicago in 1893. [...] The typeface was dropped for awhile -- it does not appear in the 1907 catalog for example -- but reappeared in 1925 as Japanette. McGrew says that the new name was Japanet. It was recast by ATF in 1954.

Norwich Aldine ML (2010) is an all caps typeface with enlarged serifs, designed and produced in wood by William H. Page of Norwich, CT in 1872.

Cruickshank ML (2012): a decorative typeface from the late Victorian period. The typeface was designed by William W. Jackson and released by MacKellar, Smiths and Jordan Type Foundry of Samson Street, Philadelphia, Pennsylvania in 1886.

Chicago Ornaments (2015). a collection of decorative cuts cast by the Chicago Type Foundry of Marder, Luse & Co. of Monroe Street in Chicago, Illinois. This collection was shown in their 1890 catalog. Some of them were designed by William F. Capitain. Included in the font are a set of Victorian caps inspired by Ernst Lauschke's Dormer (or Pekin, 1888).

Hindi Rinny is a great Indian type blog and news place run by Erin McLaughlin (b. 1985), a graphic designer in Wichita, KS (and before that, Minneapolis, MN). After graduation from the type design program at the University of Reading in 2010, she joined Hoefler&Frere-Jones in New York.

Originally from Milwaukee, she received a BFA in Graphic Design from the Minneapolis College of Art & Design before her MA at Reading. Erin created an angular typeface---à la Oldrich Menhart---, and added a matching Devanagari style---the harmonious ensemble is calledKatari. This typeface earned her the 2011 SoTA Catalyst award.

In 2015, she published the free Google Web Font typeface Khula for Latin and Devanagari. The Latin is based on Steve Matteson's Open Sans. GitHub link. Still in 2015, she published the useful free Devanagari typeface family Yantramanav at Google Web Fonts, to accompany Christian Robertson's Roboto.

Walter Bernard "Ben" Hunt (b. 1888, Greenfield, WI, d. 1970) was an American artist, outdoor educator and author. His books covered native American arts, woodworking, scouting, pioneering, jewelry making, metalworking, and calligraphy. Quoting wikipedia: Hunt was born in Greenfield, Wisconsin and grew up in a log cabin. He attended Milwaukee's South Division High School, but did not graduate, dropping out to become lithographic engraver at the Bruce Publishing Company. Hunt moved to Hales Corners, Wisconsin with his wife, Laura, in 1920. In 1924, Hunt, along with his father-in-law and brother, Edwin C. Hunt, built a log cabin behind his home. The cabin, a 16x28-foot structure, made of tamarack logs, was the subject of Hunt's first article, How We Built Our Log Cabin. During the late 1930s, Hunt began to study the work of Native American artists. As part of his research, Hunt met with artists and leaders such as Nick Black Elk, Frank Smart (or Chief Gogeoweosh), and James F. "Buck" Burshears. Hunt shared his knowledge of "Indian lore" with Milwaukee's boy scout leaders and, in 1942, Hunt started writing articles for Boy's Life. He became a regular member of its staff, ultimately writing over 1,000 articles. Hunt's work for Boy's Life, led him to serve on the staff of the National Boy Scout Jamboree in 1950, 1953, 1957, and 1960.

Type designer from Eau Claire, WI. Creator of the children's handwriting typeface Schoolbell Pro (2012, Neapolitan) when he was in Second Grade. I suspect that Jackson is Stuart Sandler's son. [Google]
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Madison, WI-based creator of the pixelized typeface Metropolis (2014), which was finished during his studies at the University of Wisconsin. He also designed the distressed typeface family Underwood (2014-2015), which is not related to the typewriter. Behance link. [Google]
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Aka Edward James Hamilton, born and died in Two Rivers, WI, 1852-1940. Wood type designer and producer active with the Hamilton Manufacturing Co. His innovations led to the production of high quality wood type. Hamilton Manufacturing Co dominated wood type in that era. He designed many wood typefaces, such as Trenton Condensed (1889), digitized in 2005 by Jordan Davies. [Google]
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Based in Madison, WI, Jason designed the beautiful free Christmas flakes font Spunkflakes (2002) at Chank's place, together with Jeff Johnson and Jack Wilcox. Jason is affiliated with Spunknation.com in Minneapolis. Home page. [Google]
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Dr. Ken Lunde is Manager of CJKV Type Development at Adobe Systems Incorporated, San Jose, CA. He holds a Ph.D. (1994) in Linguistics from The University of Wisconsin-Madison. He wrote Understanding Japanese Information Processing (O'Reilly&Associates, 1993), and CJKV Information Processing (O'Reilly&Associates, 1999). He also wrote CJKV Information Processing: Chinese, Japanese, Korean&Vietnamese Computing (O'Reilly). In 2010, Adobe will release the first genuinely proportional Japanese font, Kazuraki (by Japanese type designer Ryoko Nishizuka), which was developed at Adobe in 2009 under his management.

Ken managed the Source Han Sans project---these are open source fonts released in 2014 by Adobe and Google for Japanese, Chinese and Korean. [Google]
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Graphic design student at UW Stout (b. 1985) who worked with Luis Fitch. At Chank's place, he designed the Tuscan wood type Dickens McQueen (2006). Now based in Hudson, WI, he created the experimental typeface Algo Right (2007). [Google]
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Florian Zietz (b. Salzgitter-Bad, Germany, 1967) studied graphic design at Fachhochschule Hildesheim and participated in the German art and design school's exchange program with the University of Wisconsin-Stout. Since completing his studies in 1994, he has been working as a freelance graphic designer and illustrator for a variety of clients. Creator of the dingbats typeface FF Headz (2005), which won an award at TDC2 2006. Librito is the web outfit of Agnes von Beöczy and Florian Zietz, who are located in Hamburg, Germany. They are involved in graphic and type design, calligraphy and illustration. Besides FF Headz (dingbats), they created Just Seven (2010, a child's hand), Cutz (informal script that is way better than Comic Sans), Segmenta (2008, modular, octagonal, slightly stencilish; based on grids similar to those used in train station and airport signage), Stars (2009, dingbats), and Zansibar (a great type project concerned wit the reconstruction of an old map alphabet). Viktor (2011) is based on wood type.

Matt Frost Type is located in Madison, WI. Matt designed some fonts at Chank's place, including Cowboy Rhumbahaut (2000), a take on a mid 19-th century ornamental face. His home page. In 2011, he set up Matt Frost Foundry.

His commercial typefaces include

Escape From Budapest (2011). Art deco, based on a type specimen in the Communist Sculpture graveyard outside of Budapest.

Street of Crocodiles (2011) is inspired by the main title of the Quay Brothers film Street of Crocodiles (based on the 1934 Bruno Schultz book).

Aegean (2012). A swashy take on roman capitals. The spurred version is Cirque (2012).

Antler (2014-2016). A spurred woody vintage family of typefaces Antler has your back for beer bottles, fantasy novels, taco shops, beekeepers, cattle rustlers, tattoo artists, druids, hair bands, and bounty hunters, is how Matt descrives the typeface family. The Western typefaces Antler East, Antler North, Antler West (spurred; in Regular, Wood and 3d) and Antler South (Tuscan) were published in 2016.

Matthew Carter (born in London in 1937, and son of Harry Carter) is one of today's most influential type designers. He trained as a punchcutter at Enschedé in 1956. In 1963 he was hired by Crosfield, a firm that pioneered the new technology of photo-typesetting, to lead their typographic program. He worked for Mergenthaler Linotype (1965-1981), and co-founded Bitstream Inc. with Mike Parker in 1981, adapting many fonts to digital technology. In January 1992, he founded Carter&Cone with Cherie Cone, and often collaborated with Font Bureau. In 1995, he won the Gold Prize at the annual Tokyo type Directors Club competition for Sophia. In 1997, he received the TDC Medal for significant contributions to the life, art, and craft of typography. In 2010, he received a MacArthur grant. He lives in Cambridge, MA.

The Microsoft screen fonts Verdana (1996), Georgia (1996), Georgia Greek, Georgia Cyrillic, Nina and Tahoma. Georgia (in roman and italic only) is a screen version of Miller, Carter's Scotch design. Nina was designed to address the requirements on smaller screens such as phones, and was used in Windows Mobile smartphones before Microsoft switched to Segoe. The Greek and Cyrillic versions of Nina were developed by François Villebrod. Georgia Pro (2010, Ascender) was developed from Georgia with the help of Steve Matteson. For Verdana Pro (2010, Ascender), Carter was assisted by David Berlow and David Jonathan Ross.

Apple's Skia (1993), a sans serif designed with David Berlow for Apple's QuickDraw GX technology, now called AAT. [Carter's Skia and Twombly's Lithos are genetically related.]

Miller (1997, Font Bureau), an extremely balanced family co-designed by Carter, Tobias Frere-Jones and Cyrus Highsmith. Carter explains: Miller is a Scotch Roman, a style that had its beginnings in the foundries of Alexander Wilson In Glasgow and William Miller in Edinburgh between about 1810 and 1820. It is considered that the punchcutter Richard Austin was responsible for the types of both Scottish foundries. Miller is a revival of the style, but is not based on any historical model. Now, there is also a 16-weight newspaper version, Miller Daily (2002), and an 8-weight Miller Headline (2002). This was followed by News Miller, a typeface designed for the Guardian. Note: Georgia (1996) is a screen version of Miller, and Monticello (2002) is a later modification. A comparison of these typefaces.

ITC Galliard (1978), a recreation of Robert Granjon's garalde letters. Note: Bringhurst recommends a Carter and Cone version of this font, called Galliard CC: it has old style figures and small caps. Further versions include Aldine 701 (Bitstream), Matthew (Softmaker), ITC Galliard Etext (2013, Carl Crossgrove, Linotype), and Gareth (Softmaker).

The ITC Charter family (1987 for Bitstream and known as Bitstream Charter; licensed to ITC in 1993; see the Elsner&Flake version of ITC Charter). An upgraded commercial version was released by Bitstream in 2004 under the name Charter BT Pro.

Vincent (1999), a font commissioned for use in Newsweek. It is named after Vincent Figgins, an English foundry owner and punch cutter who lived in the late 18th century.

Walker (1994), designed for The Walker Art Center.

Ionic Number One (1999, Carter&Cone).

Mantinia (1993, Font Bureau), based on inscriptional forms, both painted and engraved, by the Italian renaissance artist Andrea Mantegna.

Big Caslon (1994, Font Bureau), a display typeface based on the largest romans from William Caslon's foundry.

Big Figgins (1992) and Big Figgins Open (1998, based on types shown in the specimens of Vincent Figgins of 1815 and 1817). Big Figgins was called Elephant and Elephant Italic in Microsoft's Truetype Fontpack 2.

Sammy Roman (1996), loosely based on the 17th century romans of Jean Jannon. A beautiful typeface designed to accompany kanji and kana typefaces produced by Dynalab in Taiwan.

Shelley Script (1972), a family of formal scripts, split into Andante, Volante and Allegro. It is based on intricate English scripts of the 18th and 19th centuries attributed to George Shelley.

Cochin (1977, at Linotype). MyFonts writes: In 1913 Georges Peignot produced a typeface based on Nicolas Cochin's eighteenth century engravings. In 1977, Matthew Carter expanded this historic form into a three part series.

Bell Centennial (Linotype-Mergenthaler, 1975-1978), a legible heavily ink-trapped family designed by Matthew Carter as a replacement of Bell Gothic at Mergenthaler. There are also digital Linotype and Bitstream versions. AT&T commissioned the font to replace their previous typeface choice Bell Gothic for their 100th Anniversary.

Cascade Script (1965-1966, Linotype, now also known as Freehand 471 BT in the Bitstream collection). Paratype's extension of Freehand 471 to Cyrillic is by Oleg Karpinsky (2011).

New Century Schoolbook was designed from 1979-1981 in the New York Lettering office of Merganthaler Linotype based on Morris Fuller Benton's Century Schoolbook from 1915-1923. It was the second face, after New Baskerville, that was digitized and expanded using Ikarus (digital technology). The Bitstream version [Century Schoolbook] is a virtually exact copy, only being moved from a 54 unit to a 2000 or so unit design.

Auriol (Linotype), an art nouveau family (including Auriol Flowers 1 and 2 and Auriol Vignette Sylvie) based on the lettering of the painter and designer Georges Auriol. MyFonts explains: Auriol and Auriol Flowers were designed by Georges Auriol, born Jean Georges Huyot, in the early 20th century. Auriol was a French graphic artist whose work exemplified the art nouveau style of Paris in the late 19th and early 20th centuries. In 1900, Georges Peignot asked Auriol to design fonts for Peignot&Sons. The resulting Auriol font was the basis for the lettering used by Hector Guimard for the entrance signs to the Paris Metro. It was re-released by Deberny&Peignot in 1979 with a new bold face, designed by Matthew Carter. These decorative fonts with a brush stroke look are well-suited to display settings. The Peignot drawing office insisted on a more normal appearance in the boldface, calling it Robur. Matthew Carter has returned to Auriol's original design for the whole series.

Helvetica Greek (Linotype).

Helvetica Compressed (Linotype, 1974, with Hans-Jörg Hunziker).

Wilson Greek (1995), compatible with Miller Text, and based on a type cut by Alexander Wilson for the Glasgow Homer of 1756. See here.

Olympian (1970, Linotype), designed for newspaper use. This is Dutch 811 in the Bitstream collection. The custom typeface Milne (Carter&Cone) done for the Philadelphia Inquirer is based on Olympian.

Gando, a French "ronde" typeface based on the work of Nicholas Gando (mid 1700s), and designed for photo-typesetting at Mergenthaler by Carter and Hans-Jörg Hunziker in 1970. Very similar to Bitstream's Typo Upright.

Milne, done for the Philadelphia Inquirer (a revised version of Olympian). Not available.

Durham, a sans serif family for US News&World Report.

Airport.

Century 725 (Bitstream, for the Boston Globe: after a design by Heinrich Hoffmeister).

For Microsoft: Georgia, Verdana, Tahoma, Nina.

New Baskerville. [Matthew Carter says that this is wrongly attributed to him. It was directed by John Quaranta.]

Postoni [or Post-Bodoni], for the Washington Post, which is still using it. See here.

Le Bé, a Hebrew typeface that was used in the Pennyroyal Caxton Bible.

Rocky (2008, Font Bureau, with Richard Lipton), for the Herald in Scotland.

Time Caledonia.

Wiredbaum, for WIRED.

Wrigley (for Sports Illustrated). Matthew Carter designed Roster in the 1990s, and it was adopted as a display face for Sports Illustrated under the name Wrigley. Jesse Ragan was instrumental in later expanding the family from its original seven styles to the current 60. In 2015, Carter & Cone and Font Bureau released an expanded 60-style family of this typeface under the new name Roster.

Benton Bold Condensed (for Time Magazine).

Foreman Light (for the Philadelphia Inquirer).

Newsbaum (for the New York Daily News).

Carter Latin: Matthew was commissioned in 2003 to create a new design to be cut in wood type by the Hamilton Wood Type&Printing Museum in Two Rivers, WI. He came up with an all-caps, chunky, Latin-serif design.

Times Cheltenham (2003), which replaces in 2003 a series of headline typefaces including Latin Extra Condensed, News Gothic, and Bookman Antique.

The YaleTypeface (2004), inspired by the late fifteenth-century Venetian typeface that first appeared in Pietro Bembo's De Aetna, published by Aldus Manutius. This extensive family is freely available to members of Yale University.

Meiryo (2004, Microsoft, with Eiichi Kono): this font is part of Microsoft's ClearType project, and includes full Latin and kanji glyph sets. Suntory corporate types (2003-2005), developed with the help of Akira Kobayashi and Linotype from Linotype originals: Suntory Syntax, Suntory Sabon, Suntory Gothic, Suntory Mincho.

Rocky (2008, Font Bureau): A 40-style high contrast roman family that is difficult to classify (and a bit awkward). Developed with Richard Lipton.

In 1997, he designed Postoni for the The Washington Post's headlines, a sturdy Bodoni.

MS Sitka (2013). A typeface with six optical sizes that are chosen on the fly if an appropriate application is present. Developed at Microsoft with the help of John Hudson (Tiro Typeworks) and Kevin Larson (who carried out extensive legibility tests). German link. Typophile link. Sitka won an award at Modern Cyrillic 2014.

Big Moore (2014, Font Bureau): A 1766 specimen by Isaac Moore, former manager of Joseph Fry's foundry in Bristol, England, shows many types inspired by John Baskerville. But a century later, standardization had foisted inept lining figures and shortened descenders upon these designs. Matthew Carter remedies the tragedy with Big Moore. Oldstyle figures, full-length descenders, and historic swashes are restored to this regal serif in two styles. Big Moore won an award in the TDC 2015 Type Design competition.

Linotype link. FontShop link. Favorite quote: Watching me work is like watching a refrigerator make ice. Another quote: A typeface is a beautiful collection of letters, not a collection of beautiful letters.

Metal Arts was established seventy-five years ago in Milwaukee, Wisconsin, in a small two-story foundry and finishing factory. In the beginning casting aluminum letters and seals for the United States Postal Service, that soon expanded to bronze plaques and letters for business, government and organizations. Metal Arts had become a successful business in Milwaukee, employing fifteen skilled craftsmen and artisans. Their 2009 Metal font catalog led Abdul to create these fonts and post them on alt.binaries.fonts in 2011: Metalarts101Futura, Metalarts10420thCentury, Metalarts105CDGothic, Metalarts107Block, Metalarts204FlatFaceRoman, Metalarts302CDDPModernRibbon. [Google]
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1897: Cloister Old Style (ATF). [Stephenson Blake purchased this from ATF and called it Kensington Old Style, 1919] [Cloister (2005, P22/Lanston) is based on Jim Rimmer's digitization of Benton's Cloister.]

1898: Roycroft. Mac McGrew on Roycroft: Roycroft was one of the most popular of a number of rugged typefaces used around the turn of the century, when printing with an antique appearance was in vogue. It was inspired by lettering used by the Saturday Evening Post. then a popular weekly magazine, and has been credited to Lewis Buddy, a former Post artist and letterer, but ATF says it was designed "partly" by Morris Benton, about 1898. Gerry Powell, director of typographic design for ATF in the 1940s, says, "Roycroft was first known as Buddy, changed when it was adopted by Elbert Hubbard for the Roycroft Press." Henry L. Bullen, ATF librarian and historian, says, "The first font of type to be made from matrices directly engraved on the Benton machine was 24-point Roycroft. October 4, 1900." While the machine was originally designed in 1884 to cut punches rather than matrices, it is doubtful that no fonts of mats were cut before 1900. Roycroft is also said to be the first typeface for which the large size of 120-point was engraved in type metal, with matrices made by electrotyping. Many typefaces of the day had a number of alternate characters. For this face. ATF gave specific instructions for their intended use: "M with the short vertex, in words the letters of which are open; R with the long tail, as a final letter in all-cap words; the wide h, m, and n, as a final letter only; t with the swash tail, as a final letter but not too frequently; u with the descending stroke, in words having no descending letters; ct ligature, wherever possible; the long s and its combinations, in antique work." Roycroft Open was cut in 1902, probably from the same patterns as the parent face. Roycroft Tinted is a very unusual face, in which the typeface is engraved with the equivalent of a halftone screen of about 25 percent tone value, with a black shadow on the right side; this typeface was cut by the Dickinson Type Foundry branch of ATF in Boston, and includes the same special characters as Roycroft. Compare Post Oldstyle.

1900: Century Expanded (1900: poster by Heather Leonhardt). This was a complete redraw of Century Roman which was designed in 1894 by his father, Linn Boyd Benton, for Theodore Low DeVinne, the publisher of Century Magazine. Digitizations by Elsner&Flake, Bitstream and URW.

1902-1912: FranklinGothic. Digital versions exist by Bitstream, Elsner&Flake (in a version called ATF Franklin Gothic), Red Rooster (called Franklin Gothic Pro, 2011), Linotype, and ITC (ITC Franklin Gothic). Discussion by Harvey Spears. Mac McGrew: Franklin Gothic might well be called the patriarch of modern American gothics. Designed in 1902 by Morris Fuller Benton, it was one of the first important modernizations of traditional nineteenth-century typefaces by that designer, after he was assigned the task of unifying and improving the varied assortment of designs inherited by ATF from its twenty-three predecessor companies. Franklin Gothic (named for Benjamin Franklin) not only became a family in its own right, but also lent its characteristics to Lightline Gothic. Monotone Gothic, and News Gothic (q.v.). All of these typefaces bear more resem- blance to each other than do the typefaces within some other single families. Franklin Gothic is characterized by a slight degree of thick-and-thin contrast; by the double-loop g which has become a typically American design in gothic typefaces; by the diagonal ends of curved strokes (except in Extra Condensed); and by the oddity of the upper end of C and c being heavier than the lower end. The principal specimen here is Monotype, but the basic font is virtually an exact copy of the ATF typeface in display sizes, except that Monotype has added f- ligatures and diphthongs. Franklin Gothic Condensed and Extra Condensed were also designed by Benton, in 1906; Italic by the same designer in 1910; and Condensed Shaded in 1912 as part of the "gray typography" series. Although Benton started a wide version along with the others, it was abandoned; the present Franklin Gothic Wide was drawn by Bud (John L.) Renshaw about 1952. Franklin Gothic Condensed Italic was added by Whedon Davis in 1967. Monotype composition sizes of Franklin Gothic have been greatly modi- fied to fit a standard arrangement; 12-point is shown in the specimen-notice the narrow figures and certain other poorly reproportioned characters. The 4- and 5-point sizes have a single-loop g. Gothic No. 16 on Linotype and Inter- type is essentially the same as Franklin Gothic up to 14-point; in larger sizes it is modified and more nearly like Franklin Gothic Condensed. However. some fonts of this typeface on Lino have Gagtu redrawn similar to Spartan Black. with the usual characters available as alternates; 14-point is shown. Western Type Foundry and later BB&S used the name Gothic No.1 for their copy of Franklin Gothic, while Laclede had another similar Gothic No. 1 (q.v.). On Ludlow, this design was originally known as Square Gothic Heavy with a distinctive R and t as shown separately after the Monotype diphthongs; when the name was changed to Franklin Gothic in 1928, it was redrawn, closer to Franklin Gothic but still a bit top-heavy; the unique R was retained in standard fonts but an alternate version like that of ATF was made available separately; also a U with equal arms, a single-loop g, and a figure 1 without foot serifs. Ludlow Franklin Gothic Italic, partially shown on the third line of the specimen, is slanted much more than other versions, to fit the standard 17 -degree italic matrices of that machine. Modern Gothic Condensed and Italic (q.v.) are often though not properly called Franklin Gothic Condensed and Italic, especially by Monotype users. Also see Streamline Block.

1903: Alternate Gothic (ATF). See Alternate Gothic Pro Antique (Elsner&Flake), Alternate Gothic No2 (Bitstream), Alpin Gothic (by Bitstream), League Gothic (2009-2011, The League of Movable Type), and Alternate Gothic No1, No2 and No3 (see the URWversion). Mac McGrew: Alternate Gothic was designed in 1903 by Morris F. Benton for ATF with the thought of providing several alternate widths of one design to fit various layout problems. Otherwise it is a plain, basic American gothic with no unusual features, but represents a more careful drawing of its nineteenth-century predecessors. The Monotype copies in display sizes are essentially the same as the foundry originals, with the addition of f-ligatures. The thirteen alternate round capitals shown in the first line of Alternate Gothic No.1 were designed by Sol Hess in 1927 for Monotype, hence the "Modernized" name; with these letters the design is sometimes referred to as Excelsior Gothic. Monotype keyboard sizes, as adapted by Hess about 1911, are considera- bly modified to fit a standard arrangement; caps are not as condensed as in the original foundry design. In 6-point, series 51 and 77 are both the same width, character for character, but some letters differ a bit in design. Note that these two narrower widths are simply called Alternate Gothic on Monotype, while the wider version is Alternate Gothic Condensed! Alternate Gothic Italic, drawn about 1946 by Sol Hess for Monotype matches No.2, but may be used with other widths as well. Condensed Gothic on Ludlow, is essentially a match for Alternate Gothic No.1, but has a somewhat different set of variant characters, as shown in the third line. There is also Condensed Gothic Outline on Ludlow, introduced about 1953, essentially an outline version of Alternate Gothic No.2. On Linotype and Intertype there is Gothic Condensed No.2 which is very similar to Alternate Gothic No. 1 in the largest sizes only, but with even narrower lowercase and figures. Also compare Trade Gothic Bold and Trade Gothic Bold Condensed. For a free version of Alternate Gothic No. 1, see League Gothic (2009-2011, The League of Movable Type).

1904: Bold Antique, Whitin Black [see OPTI Bold Antique for a modern digitization], Cheltenham (digitizations by Bitstream and Font Bureau, 1992), Cloister Black (blackletter font, see the Bitstream version: it is possible that the typeface as designed by Joseph W. Phinney).

1905: Linoscript (1905). Originally at ATF it was named "Typo Upright". Clearface, about which McGrew writes: Clearface was designed by Morris Benton with his father, Linn Boyd Benton, as advisor. The bold was designed first, in 1905, and cut the following year. The other weights and italics were produced through 1911. As the name implies, the series was intended to show unusual legibility, which it certainly achieved. The precision of cutting and casting for which ATF is noted produced a very neat and handsome series, which had considerable popularity. Clearface Heavy Italic has less inclination than the lighter weights, and is non-kerning, a detail which helped make it popular for newspaper use; the specimen shown here is from a very worn font. Some of the typefaces have been copied by the matrix makers. But the typeface Monotype calls Clearface and Italic is the weight called Bold by other sources. Monotype also includes Clearface Italic No. 289, a copy of the lighter weight. Revival and expansion by Victor Caruso for ITC called ITC Clearface, 1978. Also, American Extra Condensed, an octagonal mechanical typeface revived in 2011 by Nick Curtis as Uncle Sam Slim NF.

1907: Lincoln Gotisch, named after Abraham Lincoln. This found found its way from ATF to Schriftguss, Trennert und Sohn, and Ludwig Wagner. Digital revivals include Delbanco's DS Lincoln-Gotisch. Compare with Comtesses, Lipsia, Elite Kanzlei, Lithographia and Wedding Text.

1908: News Gothic, Century Oldstyle (digital versions by Bitstream, Elsner&Flake, and URW), Clearface Gothic (1907-1910: digital revivals include Clear Gothic Serial (ca. 1994, SoftMaker) and Cleargothic Pro (2012, SoftMaker). McGrew: Clearface Gothic was designed by Morris Benton for ATF in 1908, and cut in 1910. It is a neat, clean gothic, somewhat thick and thin, which incorporates some of the mannerisms of the Clearface (roman) series. However, it can hardly be considered a part of that family. There is only one weight, and fonts contain only the minimum number of characters.

1909-1911: Rugged Roman. McGrew: Rugged Roman was designed for ATF by Morris F. Benton in 1909-11. It was patented in 1915, but the earliest showing seems to have appeared in 1917. It is a rugged face, as the name says, of the sort that was popular early in the century, but appears to have no relation to other typefaces having the name "Rugged." It somewhat resembles Roycroft, but is lighter. But to add to the uncertainty, fonts contained a number of ligatures of the kind which were more common in the early 1900s, in addition to the usual f-ligatures.

1910: Cloister Open Face, Hobo (1910, strongly influenced by the Art Nouveau movement; Hobo Light followed in 1915), ATF Bodoni (Bitstream's version is just called Bodoni, and Adobe's version is called Bodoni Book or Bodoni Poster or Bodoni Bold Condensed, while Elsner&Flake call theirs Bodoni No Two EF Ultra; Font Bureau's version has just two weights called BodoniFB-Bold Condensed and Compressed). McGrew writes about Hobo: Hobo is unusual in two respects---it is drawn with virtually no straight lines, and it has no descenders and thus is very large for the point size. It was designed by Morris F. Benton and issued by ATF in 1910. One story says that it was drawn in the early 1900s and sent to the foundry without a name, which was not unusual, but that further work on it was continually pushed aside, until it became known as "that old hobo" because it hung around so long without results. More time elapsed before it was patented in 1915. The working name was Adface. Hobo was also cut by Intertype in three sizes. Light Hobo was also drawn by Benton, and released by ATF in 1915. It is included in one list of Monotype typefaces, but its series number is shown elsewhere for another Monotype face, and no other evidence has been found that Monotype actually issued it.

1911-1913: Venetian, Cromwell. Mac McGrew: Cromwell is a rather playful typeface, designed by Morris Benton in 1913 but not released by ATF until three years later. It uses the same capitals as Cloister (q.v.) and has the same small x-height with long ascenders and descenders, but otherwise is quite different, with much less formality. Notice the alternate characters and the double letters including overhanging f's.. Cromwell was digitized by Nick Curtis in 2010 as CromwellNF. Mac McGrew on Venetian: Venetian and Italic were designed by Morris F. Benton for ATF about 1911, with Venetian Bold following about two years later. They are rather reserved transitional typefaces, almost modern, instead of classic designs of Venetian origin as the name implies. The result is closer to Bodoni than to Cloister. The working title was Cheltenham No.2, but the relationship to that family is not apparent. It is carefully and neatly done, but never achieved widespread use. Compare Benton, a later typeface by the same designer, which has similar characteristics but more grace and charm.

1914: Adscript, Souvenir, Garamond (with T.M. Cleveland).

1916: Announcement, Light Old Style, Goudy Bold. Mac McGrew writes: Announcement Roman and Announcement Italic were designed by Morris F. Benton in 1916, adapted from steel or copperplate engravings, but not completed and released until 1918. These delicate typefaces have had some popularity for announcements, social stationery, and a limited amount of advertising work, but are a little too fancy for extensive use. Oddly, some of the plain caps shown in the specimens, both roman and italic, do not seem to appear in any ATF specimens. Foundry records show that a 48-point size of the roman was cut in 1927, but no other listing or showing of it has been found. In fact, sizes over 24-point were discontinued after a few years, and all sizes were discontinued in 1954.. Digitizations: Announcement Roman was done by Nick Curtis in 2009 and called Society Page NF.

1918: Century Schoolbook (1918-1921). (See ITC Century (Tony Stan, 1975-1979), or the Century FB-Bold Condensed weight by Greg Thompson at Font Bureau, 1992. For Century Schoolbook specifically, there are versions by Elsner&Flake, Bitstream and URW. Bitstream has a monospaced version.) URW Century Schoolbook L is free, and its major extension, TeXGyre Schola (2007) is also free.

1920: Canterbury. Mac McGrew: Canterbury is a novelty typeface designed by Morris F. Benton for ATF in 1920, when trials were cut, but not completed for production until 1926. It features a very small x-height, with long ascenders and descenders; monotone weight with minute serifs; and a number of swash capitals. It is primarily suitable for personal stationery and announcements. Compare Camelot Oldstyle. Digital versions were done by Nick Curtis in his Londonderry Air NF (2002-2004), and Red Rooster in the series Canterbury, Canterbury OldStyle, and Canterbury Sans.

1922: Civilité. Mac McGrew on the ATF Civilité: Civilite in its modern adaptation was designed by Morris Benton in 1922 and cut by ATF in 1923-24. The original version was cut by Robert Granjon in 1557 to imitate the semi-formal writing then in vogue, and is believed to be the first cursive design cut in type. It became popular for the printing of poetry and for books of instruction for children, where the type itself could serve as a perfect model of handwriting. The first of these books was titled La Civilite puerile, printed at Antwerp in 1559. The books were so popular that the design came to be known as "civility" type. Other interpretations of the letter have been made, including Cursive Script, cut in the nineteenth century in 18-point only from French sources by ATF predecessors and by Hansen, but Benton's seems more attractive and legible to modern eyes. The French pronunciation of ci-vil'i-tay is indicated by the accented e, which was used only in ATF's earliest showings. The many alternate characters were included in fonts as originally sold; later they were sold separately and finally discontinued, although the basic font was still listed in recent ATF literature. Also see ZapfCivilite. Compare Freehand, Motto, Verona.

1929: Louvaine. McGrew: Louvaine series was designed by Morris F. Benton for ATF in 1928. It is an adaptation of Bodoni (the working title was Modern Bodoni), and many of the characters are identical. Only g and y are basically different; otherwise the distinction is in the more abrupt transition from thick to thin strokes in this series. In this respect, Ultra Bodoni has more affinity to Louvaine than to the other Bodoni weights. The three weights of Louvaine correspond to Bodoni Book, Regular, and Bold. This series did not last long enough to appear in the 1934 ATF specimen book, the next complete one after its introduction. Compare Tippecanoe.

1930: Benton, Engravers Text, Bank Gothic (see Bitstream's version), Garamond-3 (with Thomas Maitland Cleland), Paramount (some have this as being from 1928: see Eva Paramount SG by Jim Spiece). McGrew: Paramount was designed by Morris Benton in 1930 for ATF. It is basically a heavier companion to Rivoli (q. v.), which in turn is based on Eve, an importation from Germany, but is heavier than Eve Bold. It is an informal typeface with a crisp, pen-drawn appearance. Lowercase is small, with long ascenders and short descenders. Vertical strokes taper, being wider at the top. It was popular for a time as an advertising and announcement type.

1932: Raleigh Gothic Condensed (the digital version by Nick Curtis is Highpoint Gothic NF (2011)), American Text (blackletter). Mac McGrew: Raleigh Gothic Condensed was designed by Morris F. Benton for ATF in 1932. It is a prim, narrow, medium weight gothic face, with normally round characters being squared except for short arcs on the outside of corners. The alternate characters AKMNS give an even greater vertical appearance than usual. At first, this typeface was promoted with Raleigh Cursive as a stylish companion face, although there is no apparent relationship other than the name. Compare Phenix, Alternate Gothic, Agency Gothic.

1933: American Backslant, Ultra Bodoni (a great Bodoni headline face; see Bodoni FB (1992, Font Bureau's Richard Lipton). About Agency Gothic, McGrath writes: Agency Gothic is a squarish, narrow, monotone gothic without lower- case, designed by Morris F. Benton in 1932. It has an alternate A and M which further emphasize the vertical lines. Sizes under 36-point were added in 1935. Agency Gothic Open was drawn by Benton in 1932 and introduced in 1934; it follows the same style in outline with shadow, and probably has been more popular than its solid companion. Triangle Type Foundry, a Chicago concern that manufactured matrices, copied this typeface as Slim Open, adding some smaller sizes. ATF's working titles for these typefaces, before release, were Tempo, later Utility Gothic and Utility Open. Compare Raleigh Gothic Condensed, Poster Gothic, Bank Gothic. Digital versions include Warp Three NF (2008, Nick Curtis), which borrows its lowercase from Square Gothic (1888, James Conner's Sons), FB Agency (1995, David Berlow at FontBureau)

1934: Shadow, Tower (heavy geometric slab serif), Whitehall. Font Bureau's Elizabeth Cory Holzman made the Constructa family in 1994 based on Tower. Digital versions include Warp Three NF (2008, Nick Curtis), which borrows its lowercase from Square Gothic (1888, James Conner's Sons), FB Agency Gothic (1995, David Berlow at FontBureau) and Agency Gothic by Castle Type. Eagle Bold followed in 1934. McGrew: Eagle Bold is a by-product of the depression of the 1930s. The National Recovery Administration of 1933 had as its emblem a blue eagle with the prominent initials NRA, lettered in a distinctive gothic style. Morris Benton took these letters as the basis for a font of type, released later that year by ATF, to tie in with the emblem, which businesses throughout the country displayed prominently in advertising, stationery, and signs; naturally it was named for the eagle. Compare Novel Gothic.USA Resolute NF (2009, Nick Curtis) is based on Eagle Bold.

1935: Phenix. This condensed artsy sans was revived in 2011 at Red Rooster by Steve Jackaman and Ashley Muir as Phoenix Pro.

Freehand (1917). Mac McGrew: Freehand, a typeface based on pen-lettering, was designed for ATF by Morris Benton in 1917. The working title before release was Quill. Derived from Old English, it is an interesting novelty, and has had quite a bit of use. Compare Civilite, Motto, Verona.

Motto (1915). Mac McGrew: Motto is a calligraphic typeface designed by Morris F. Benton for ATF in 1915. It is similar to the same designer's Freehand, drawn a couple of years later, but has plainer capitals, heavier thin strokes, and shorter descenders. But letters combine into legible words with a pleasant, hand-lettered appearance. Also compare Humanistic, Verona.

Souvenir (1914). Revived in 1977 by Ed Benguiat as ITC Souvenir, but a total failure as a type design. Simon Garfield: Souvenir was the Comic Sans of its era, which was the 1970s before punk. It was the typeface of friendly advertising, and it did indeed appear on Bee Gees albums, not to mention the pages of Farrah Fawcett-era Playboy. Mark Batty from International Typeface Corporation (ITC) on one of his best-selling fonts: A terrible typeface. A sort of Saturday Night Fever typeface wearing tight white flared pants. Garfield also retrieved this quote by type scholar Frank Romano in the early 1990s: Real men don't set Souvenir. Digital revivals also include Sunset Serial by Softmaker, and ITC Souvenir Mono by Ned Bunnel.

Senior designer at Font Bureau since 1997, after graduating that year from the Rhode Island School of Design. Born in Milwaukee, WI, he now is a faculty member at RISD, where he teaches typography in the department of Graphic Design. He regularly offers a summer course on Digital Type Design, Summer Institute of Graphic Design, Rhode Island School of Design. His sketchbooks are now on line. In 2016, he set up Occupant Fonts as part of the Type Network.

Author of Inside Paragraphs, written for a foundational typography course. Matthew Carter writes: Cyrus Highsmith takes the lid off a paragraph of type and shows its inner workings. There is nothing you need to understand about using type that's not in this book. Cyrus explains the correct terms for the typographic components of form and space that make a letter, a word, a line, a paragraph, and he does it with clear drawings, simple language, and a legible typeface for the text.

Cyrus created wonderful typefaces such as Loupot (1997, with Laurie Rosenwald, based on the lettering on Charles Loupot's St. Raphael poster from 1948), Eggwhite (2001, for comics), Relay (2002, a somewhat art deco sans serif family that will be in vogue for years to come!), Benton Sans (1995-2003, with Tobias Frere-Jones, a revival of Benton's 1903 family, News Gothic; see also Benton Sans Wide, 2013), Occupant Gothic (2000, angular), Prensa (2003, a simple 24-style serif family), Prensa Display (2012), Dispatch (1999-2000), Halo (2003), the 12-weight Stainless family (2001), and Daleys Gothic (1998). The Wall Street Journal uses his D4ScotchD4Scotch family (2001). He made a modified Palatino for the newspaper El Mercurio, and designed Zocalo or El Universal for the newspaper El Universal. He won Bukvaraz 2001 awards for Prensa and Relay.

At ATypI 2004 in Prague, he spoke about the wealth of typefaces. In 2006, Escrow (Font Bureau) was published, an out-of-this-world 44-style subdued Scotch family that is used by The Wall Street Journal. In 2007, still at Font Bureau, he created Antenna, a 56-style sans family, as well as Biscotti, a delicate connected (wedding) script commissioned in 2004 by Gretchen Smelter and Donna Agajanian for Brides magazine.

Still in 2007, he won an award for his newspaper type family Quiosco (Font Bureau). Font Bureau writes: With Quiosco, Cyrus Highsmith continues an examination of themes and possibilities which he first explored in Prensa, inspired by the work of W. A. Dwiggins---specifically a dynamic tension between inner and outer contours. However, the crackling, electrical energy of Prensa here gives way to a more fluid, mercurial muscularity in Quiosco.

In 2006, he designed Scout for Geraldine Hessler's redesign of Entertainment Weekly, under the influence of DIN, Venus and Cairoli. Scout is a utilitarian sans serif series that was followed in 2013 with Scout RE---four styles optimized for screen text and small sizes in print. In 2016, he added Scout Text.

In 2012, he published Serge (an angular script family in three styles: a frisky, acrobatic typeface that dashes off decorative blurbs, signs, and headlines with a lively, angular zest), Heron Sans and Heron Serif at Font Bureau, which writes: Heron Serif and Sans are born of hard iron and steel, but galvanized with Cyrus Highsmith's warmth and energy.

In 2013, he published Icebox at Font Bureau---a font that is based on a set of magnetic letters found at a variety store.

Typefaces from 2014: Tick and Tock, two stencil styles.

Typefaces from 2015: Antenna Serif.

Typefaces from 2016: Gasket, Gasket Unicase, Gasket Uncial.

Speaker at ATypI 2013 in Amsterdam: Don't design web fonts Its theme is: The successful type series of the future will be the ones that can move between media. He says that new typefaces should be smarter than the devices that use them.

Oddsorts (est. 2015) is founded and run by type designer, teacher, and graphic designer Charles Gibbons (b. Lynn, MA). Chuck has partnered with various typefoundries such as Bitstream, Filmotype, Sideshow, Tart Workshop, Device, and Cultivated Mind. The Ciao Bella ornaments he designed with Cultivated Mind's Cindy Kinash represent the first commercially available auto-chromatic fonts: each font can be set in two colors. Working with Stuart Sandler and Crystal Kluge at Tart Workshop, he developed the method by which their Aya Script delivers its characteristic curlicue ribbons. His types grace book covers, greeting cards, film titles, museum façades, and the seal of the United States Copyright Office.

At Oddsorts, he published Bradley Wayside and Bradley Chicopee in 2015: Begun in 2000 as a wedding gift for the designer's wife and used privately for years, they're finally available to the public. The fonts were inspired by the masterful art nouveau lettering of Will H. Bradley, whose posters for Ault & Wiborg printing inks and Victor Bicycles continue to draw collectors after more than a century. Wayside and Chicopee expand the twenty-odd characters Bradley drew into a comprehensive multiscript system that includes modern Greek and extended Cyrillic alphabets, ordinals, automatic fractions, and ornaments.

In 2016, Charles Gibbons and Cindy Kinash codesigned Ciao Bella. It features a hand-rafted copperplate script style, and several flower ornaments about which they write: The Ciao Bella ornaments he designed with Cultivated Mind's Cindy Kinash represent the first commercially available auto-chromatic fonts: each font can be set in two colors. What's truly innovative about Ciao Bella's ornaments is that most of the characters come in pairs that can be set in multiple colors without any stacking, layering, or aligning. They work in any application that supports kerning---even most word processors. [Google]
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Great Lakes Lettering in Eau Claire, WI, showcases the type designs of Dathan Boardman and Molly Jacques Erickson. They jointly designed the illustrative handwriting font Frosted in 2012. In 2013, they co-designed the hand-drawn typefaces Saint Agnes and Icing, and the script typeface Kailey (2013).

In the Phonology Project at the University of Wisconsin, the free Pepper Font family was developed: each font contains 43 regular and bold phonetic symbols for all of the American English consonants, vowels, and diphthongs, and 45 diacritic symbols and special characters. [Google]
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American artist (b. 1905, Peoria, IL, d. 2006, Milwaukee, WI) in Wisconsin, known for paintings of ballerinas and dairy cows and his regionalist murals. He married fellow-artist Ruth Grotenrath in 1934, and both became involved in the Federal Works Progress Administration's (WPA) art programs, Treasury Relief Art Project (TRAP) and the Public Works Art Project (PWAP). He created the stick figure Ballerina Alphabet as a serigraph in 1990. [Google]
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Madison, WI-based publishers of Specimen Book of Wood Type (1998), designed and printed by Rachel Davis, and of Specimen Book of Wood Type from the collection of the Silver Buckle Press. Introduction by Rob Roy Kelly. Foreword by Stephen O. Saxe (1999). In 1988, they published the calendar of ornamental material from the Silver Buckle Press (University of Wisconsin at Madison). [Google]
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The STA is a professional association for designers in Chicago, originally established in 1927 as the Society of Typographic Arts. Recent past events: April 2, 2002: "New typography requires new typefaces", a presentation by Chester at Chicago's Columbia College, Center for Book and Paper Arts. April 13-14, 2002: A drive up to the Hamilton Wood Type Museum in Two Rivers, WI, and a visit of the Paul Rand retrospective exhibition at the William F. Eisner Museum in Milwaukee. [Google]
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At the now defunct OmegaFrog site she published some fonts that may have disappeared or improved, so I will list them for the historical record only: Annaments, Basketweave, Borders, DecoFrieze, DecoGlyphs, DingBatik, Florascopes, Frieze, GothicFrieze, HexaGlyphs, Kaleidoblocks, Ringbats, Roundabouts, Scrolls, Speyerals (one of the greatest spiral fonts on earth!), Spinwheels, Spirals, Woodblocks. A quote from that site: Her art is abstract, geometric, embellished, decadent and fun. She's the webmistress behind The S.S.Studio, also known as Ann-S-Thesia's Gallery of Digital Delights. At Garagefonts, check Baroquoco (borders).

Darry Rehr on the history of typewriters. I cite: ... "It was called the "Sholes&Glidden Type Writer," and it was produced by the gunmakers E. Remington&Sons in Ilion, NY from 1874-1878." ... "The idea began at Kleinsteuber's Machine Shop in Milwaukee, Wisconsin in the year 1868. A local publisher-politician-philosopher named Christopher Latham Sholes spent hours at Kleinstuber's with fellow tinkerers." ... "Sholes proceeded to construct a machine to do the whole alphabet. The prototype was eventually sent to Washington as the required Patent Model. The original still exists, locked up in a vault at the Smithsonian." ... "Sholes lacked the patience required to penetrate the marketplace, and sold all of his rights to Densmore, whose belief in the machine kept the enterprise afloat. Remington agreed to produce the device beginning in 1873. The "Glidden" part of the name came from Carlos Glidden, one of the Kleinstuber Machine Shop gang, who had been something of a help to Sholes." [Google]
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The Good Type is Josiah Werning's foundry in Milwaukee, WI. Josiah Werning (b. 1984, Brookfield, WI) created Forestry (2010) and White Rose (2012). He writes about White Rose: White Rose is an original hand-drawn typeface that was made for the White Rose Catholic Worker house in Chicago. White Rose (the Catholic Worker house) follows a long tradition of providing hospitality, being active and involved in the community and living a sustainable lifestyle. In the same way, White Rose (the typeface) follows a long tradition of typefaces, mimicking Old Style and Transitional forms while retaining an element of style.

Located at the University of Wisconsin, this site offers some copies of old type specimen books for viewing. There are neither PDF downloads nor high resolution scans, but one can get a feel of the contents. The list (as of early 2012) is below:

American type designer, born in Rochester in 1966, who has worked for various foundries including Monotype. He graduated from the Rochester Institute of Technology. He lives in Madison, WI, and is currently employed by Monotype, after a short period at Ascender. He co-designed a revival of W.A. Dwiggins' beautiful Eldorado family, Amanda (1996), Hamilton, the Western font Buffalo Gal (1992-1994, TTGX variations font done while he was at Apple). He worked at Monotype from 1994 onwards, where he hinted Carter's Georgia, Tahoma, Nina and Verdana fonts, for example, commissioned by Microsoft. While employed by Apple Computer, Tom oversaw the development of the first TrueType fonts to ship with Apples System 7. He worked on a freelance basis for Font Bureau for the last 12 years. He has worked on custom font solutions for companies such as Adobe Systems, Apple Computer, Hewlett-Packard, IBM, Lexmark, Lotus, Microsoft and Nokia. His custom fonts include a revival of Bodoni to serve Lexmark as their new corporate typeface. His experience with non-Latin scripts is broad, having designed fonts for the Greek, Cyrillic, Hebrew, Thai, Thaana and Cherokee scripts. Tom also played a key role in the development of fonts for Agfa Monotype's proprietary stroke font format. In his own words, However I did the bulk of the drawing for Siegel's Graphite, and I did about 1/2 of the Tekton MultipleMaster (with Jill Pichotta and Tobias Frere-Jones on the other half of the masters) while in Palo Alto. In 2004, he co-founded Ascender Corporation, where he published

Rebekah Pro (2006): a revival of ATF's Piranesi family, the regular being designed by Willard Sniffin, and the remaining weights designed by Morris Fuller Benton. Tom Rickner first revived Benton's Italic for use in his wedding invitations for his marriage to Rebekah Zapf in 2006. He completed the character set in 2009.

Designer at BBS of Adstyle Borders (1908), who lived in Appleton, WI, at the time. Mac McGrew: Although these are primarily decorative border units rather than type fonts, they had considerable popularity for expressing names and slogans in the borders of ads and otherwise. Designed by T. C. Robinson in 1908, the letters are a plain gothic style, somewhat thick and thin, similar to nineteenth-century designs. There are seven series: No.1: negative characters in rimmed circle. No.2: positive characters in circle. No.3: negative characters in plain circle. No.4: positive characters in square. No.5: negative characters in square. No.6: positive characters in diamond. No.7: negative characters in diamond. Monotype Special Reversed Figures No. 132S are very similar to Adstyle Border No.5, and in the 12-point size they include X, period, and comma, and single and double figures to 20. [Google]
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Tim Rolands (b. St.Louis, MO, 1970, based in Kirksville, MO and London, UK, but also in Stevens Point, WI) is an independent digital type developer, producing TrueType and Postscript typeface families for MacOS and Windows. He founded Tim Rolands Digital Design in 2001. Other names for his company include TR Typographic Services, Phont Typographics, Stylus Digital Typography, Studio Renaissance. His fonts can be bought at MyFonts.

Documentary made in 2008 by Justine Nagan about the Hamilton Wood Type Museum in Two Rivers in rural Wisconsin. Justine Nagan has produced or helped produce various films at Kartemquin Films. She has a Masters Degree from the University of Chicago, 2004. Another URL. [Google]
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Versa Type is Jim Ford's foundry. Jim graduated in graphic design from Columbia College in Chicago. He received his BFA in Graphic Design in 2005. Jim lives in Delavan, Wisconsin. He joined Ascender Corp in 2005, where he codesigned Ayita (2006), a decorative sans family, with Steve Matteson. Pokerface (2009, Ascender) is an industrious mixed-case display font devised on the theme of playing cards. Captain Quill (2008, Ascender Corp) is calligraphic. Moire (2008, Microsoft) is a sans face. Jimmy Crack Corn (2009, Ascender) is an ordinary handwriting font. Ford's Folly (2010, Ascender) is a felt tip pen face. He also made Artcraft Pro. Dempster (2010, Ascender) is a geometric sans with angular terminals; it was reissued in 2016 and Steve Matteson's name was adeed to the list of designers. He also designed the Segoe Chess Font (2006, Ascender, with Steve Matteson). He codesigned Segoe Mono in 2012 with Steve Matteson at Ascender.

In 2013, Jim joined Monotype as a type designer. The Halloween font Wolfsblood was designed in 2013. In 2014, he created Quire Sans (a humanist sans) at Monotype.

In 2015, he designed Esca (Monotype). Richie (2016, Monotype) is a brush script typeface inspired by the work of Czech type designer Oldrich Menhart, who liked angular calligraphic outlines.

Posterama (2016, Monotype) is a 63-font set that pays homage to the 20th century. Its base set is Posterama Text (Latin, Greek, Cyrillic). Additional subfamilies include Posterama 1901 (art nouveau), Posterama 1913 (abstract art, as seen at the Armory Show, or 1913 Exhibition of Modern Art), Posterama 1919 (Bauhaus), Posterama 1927 (related to Metropolis, The Jazz Singer and Paul Renner's Futura), Posterama 1933 (art deco), Posterama 1945 (constructivism and Russian propaganda), Posterama 1984 (sc-fi and video game era, with a bit of George Orwell thrown in), and Posterama 2001 (inspired by Stanley Kubrick's science fiction movie).

Still in 2016, he designed Ernie, a funky animated typeface, intended as a complimentary serif design to Freeman Craw's fun retro hit, Ad Lib.

Designer at SignDNA who made mostly shopping center sign typefaces and comic book typefaces: Bill's Holiday (a children's playground face), Cube a Rama, Toon Copy, Med Ved, Toon Block. His bio at SignDNA: Born in Milwaukee, signpainter, artist and cartoonist Bill Kripinski now brings his unique perspective to the outside world from small town-rural Wisconsin. Although he claims his ideas come from "living in my head while going out of my mind," he draws from a deep inner wellspring clarified by his experience as a self-made artist. Early influences were Dr. Seuss, Disney and Mad Magazine and later included Zap Comix author, Edward Abbey and activist, Walt Bresette. "Walt always urged us to put our words into action." And it's those actions that Bill feels make his pictures worth (at least) 1000 words. [Google]
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Yellow Design Studio is a fine art, graphic design and typography studio based in Sanibel, FL, and before that, in Madison, Wisconsin. The font designer is Ryan Martinson (b. 1972), who is from Chetek, WI. Rena Martinson is the other partner in the venture.

Shareware Yoruba language fonts developed at the University of Wisconsin-Madison Yoruba program by Antonia Schleicher. Truetype for Mac and PC. 20USD for the full font, free for lower case letts only. [Google]
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